Hoberman, J. "Robert Breer's Animated World."
American Film
5, no. 10 (September 1980): 46, 48, 68.
Klüver, Billy, Julie Martin, and Barbara Rose, eds.
Pavilion by Experiments in Art and Technology
. New York: E. P. Dutton, 1972, pp. 511, other references.
Mekas, Jonas.
Movie Journal
. New York: Collier Books, 1972. Includes reviews of Breer's work"On the Cinema of Happiness and Robert Breer" (p. 176), "On the Changing Nature of Avant-Garde Film Screenings" (pp. 342343)and other references.
Mendelson, Lois.
Robert Breer: A Study of His Work in the Context of the Modernist Tradition
. Ann Arbor, Mich.: U.M.I. Research Press, 1981.
Moore, Sandy.
Robert Breer
. A Film in the Cities Monograph. Minneapolis/St. Pauclass="underline" Film in the Cities/Walker Art Center, 1980.
Renan, Sheldon.
An Introduction to American Underground Film
. New York: E. P. Dutton, 1967, pp. 129133, other references.
Russett, Robert, and Cecile Starr, eds.
Experimental Animation
. New York: Van Nostrand Reinhold Co., 1976. The Robert Breer section (pp. 131136) includes Guy L. Cote, "Interviews with Robert Breer" (reprinted from
Film Culture
); Breer, "A Statement" (reprinted from
Film Culture,
no. 29); and "Interview with Robert Breer" (reprinted from
American Film Institute Report
5, no. 2 Summer 1974).
Sitney, P. Adams. "The Achievement of American Avant-Garde Cinema 19601970." In "
The Pleasure Dome," American Experimental Film 19391979,
eds. Jonas Mekas and Sitney, pp. 2426. A catalogue for a show at Moderna Museet, Stockholm, Sweden, February 16April 4, 1980. Stockholm: Moderna Museet, 1980.
. "The Films of Robert Breer." In
New Forms in Film,
ed. Annette Michelson, pp. 4549. A catalogue for an exhibition of North American avant-garde film, Montreux, Switzerland, Aug. 324, 1974. Montreux, Switzerland: Imprimerie Corbaz, 1974.
.
Visionary Film
. New York: Oxford University Press, 1974, pp. 313332, other references.
Su Friedrich
Beroes, Stephanie. "Interview with Su Friedrich."
Cinematograph,
no. 2 (1986): 6871.
Camper, Fred. "Daddy's Girl."
Chicago Reader
20, no. 18 (Feb. 8, 1991): 12, 1718.
Friedrich, Su. "Radical Form: Radical Content."
Millennium,
no. 22 (Winter/Spring 198990): 118123.
. "(Script) for a Film without Images."
Feminism/Film,
no. 1 (Spring 1984): 111.
Hanlon, Lindley. "Female Rage: The Films of Su Friedrich."
Millennium,
no. 12 (Fall/Winter 198283): 7886.
Jenkins, Bruce. "Gently Down the Stream."
Millennium,
nos. 1618 (Fall/Winter 198687): 195199.
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Kruger, Barbara. "The Ties That Bind."
Artforum,
no. 23 (October 1984): 89.
MacDonald, Scott. "Su Friedrich: Reappropriations."
Film Quarterly
41, no. 2 (Winter 198788): 3443.
Anthony McCall
Ehrenberg, Felipe. "On Conditions."
Art and Artists
(March 1973): 3943.
McCall, Anthony.
anti-catalogue
. New York: The Catalogue Committee of Artists Meeting for Cultural Change, 1977.
. "Interview: Formalist Cinema and Politics."
Performing Arts Journal
1, no. 3 (Winter 1977): 5161. Includes statements on
Line Describing a Cone
and other "Cone" films, on
Long Film for Four Projectors
and
Long Film for Ambient Light,
and an interview with McCall by Gautam Dasgupta.
. "Film as a Connective Catalyst." Paper delivered at International Forum of Avant-Garde Film, Edinburgh Film Festival, 1976.
. "Two Statements." In
The Avant-Garde Film,
ed. P. Adams Sitney, pp. 250254. New York: New York University Press, 1978.
, and Andrew Tyndall.
Argument
. A catalogue published in several versions on the occasion of screenings of the film
Argument
. First edition: August 1978 (for Edinburgh International Film Festival and London Filmmakers' Co-operative); Second edition: October 1978 (for The Collective for Living Cinema and Millennium Film Workshop in New York and Media Study-Buffalo); Third edition: March 1979 (for Temple University Conference on Culture and Communication, International Film Theory Conference 5, University of Wisconsin-Milwaukee, and Chicago Filmmakers). The final edition includes essays by McCall and Tyndall, Jane Weinstock, David Himelfarb, and Claire Pajaczkowska.
MacDonald, Scott. "Text as Image." P. 13.
Ross McElwee